Name: Creed III
Genre: Drama, Action
Released: 2023-03-01T00:00:00+00:00
Cast: Michael B. Jordan, Tessa Thompson, Jonathan Majors, Phylicia Rashād, Mila Davis-Kent

The opening shot of Creed III lingers on a pair of gloves hanging limp from a hook—Adonis Creed’s, now retired but still symbolically heavy with history. This quiet moment sets the tone for Michael B. Jordan’s directorial debut: introspective, deliberate, and unapologetically grim. It’s a far cry from the soaring montages of Rocky or even the earnest drama of Creed II. Here, the gloves are barely raised before the first punch lands.

Jordan, who has spent years refining his craft as an actor, brings a filmmaker’s eye to this chapter in the Creed saga. He digs deeper into Adonis’ psyche, exploring themes of guilt, legacy, and the cost of success. The film opens with a flashback to 2002 Los Angeles, where young Adonis (played by a stand-in) and his best friend Damian ‘Dame’ Anderson (Jonathan Majors) share dreams of boxing glory. That shared history becomes the emotional core of Creed III, as Dame resurfaces after serving a long prison sentence, seeking redemption—and revenge—in the ring.

Majors, already a scene-stealer in Lovecraft Country and The Last Black Man in San Francisco, delivers a career-defining performance. His Dame is a volatile mix of charm and menace, a man who has spent years honing his rage into a weapon. Majors’ physicality is astonishing; he moves with the precision of a dancer and the brutality of a street fighter. In one standout scene, he ambushes Adonis in an empty gym, the fight choreographed like a ballet of violence. The camera lingers on their faces—sweat, blood, and raw emotion—as they trade blows, making it clear this is personal.

Jordan matches Majors’ intensity with his own performance as Adonis. This is the most vulnerable we’ve seen Creed yet: a man haunted by his past, struggling to balance fatherhood with his legacy. The film’s most poignant moment comes when Adonis signs “I love you” in American Sign Language to his deaf daughter Amara (Mila Davis-Kent). It’s a quiet, powerful scene that underscores the film’s focus on family and communication.

But Creed III isn’t just about emotional depth. Jordan also elevates the action sequences, using tight close-ups and rapid cuts to make every punch land with visceral impact. The fights are brutal, bloody, and often unsettling—far removed from the inspirational sparring matches of previous films. This shift in tone is both a strength and a weakness. On one hand, it sets Creed III apart from its predecessors; on the other, it risks alienating fans who came for the uplifting underdog story.

The film’s pacing also stumbles at times. The flashbacks to Adonis and Dame’s childhood, while emotionally resonant, disrupt the momentum of the present-day conflict. Some scenes feel drawn out, particularly those involving Adonis’ adoptive mother Mary-Anne (Phylicia Rashad) and his mentor Tony ‘Little Duke’ Evers (Wood Harris). While these characters add depth to the story, their arcs sometimes feel secondary to the central rivalry.

Tessa Thompson’s Bianca Creed, a pivotal character in Creed II, is notably absent for much of the film. Her reduced role feels like a missed opportunity, especially given the family’s journey with Amara’s hearing impairment—a compelling subplot that could have been explored further.

Still, Creed III has moments of brilliance. The score, an extended version of Joseph Shirley’s theme by Gilles Nuytens, adds gravitas to key scenes, while Jordan’s direction favours intimacy over spectacle. He uses the camera like a scalpel, cutting close to capture every flicker of emotion on his actors’ faces.

The film’s originality lies in its willingness to tackle darker themes—guilt, vengeance, and the cyclical nature of violence. It’s a departure from the franchise’s usual inspirational tone, but one that feels necessary for Adonis’ character arc. However, this shift doesn’t always align with the Creed series’ core appeal: hope and redemption.

Creed III is a film for fans who crave complexity in their action dramas, those willing to trade soaring montages for intimate character studies.